Review: Recorded at the California Jam at Canada's Ontario Speedway on 6th April 1974, this live collection features metallic pioneers Black Sabbath almost a year into the promotional run for their acclaimed fifth full-length Sabbath Bloody Sabbath. Featuring an absurd, retrospective fan-pandering set made up of all the essentials from 'War Pigs', 'Paranoid', and 'Iron Man', to later yet equally integral deep cuts such as 'Sweet Leaf' and 'Children Of The Grave', this set was originally released as part of a 2xCD set but now comes home to wax for the diehards who were there (and the younger generations who wish they were) to experience in all of its illustrious, fuzzy, bombastic, macabre glory.
Review: Taken from a performance at the Asbury Park Convention Hall in New Jersey on August 5th 1975, this live collection from pioneering metal granddaddies Black Sabbath came during the run for their often overlooked sixth LP Sabotage and boasts a set that simultaneously amplifies some of that project's most choice cuts such as 'Hole In The Sky', 'Symptom Of The Universe', and 'Megalomania', as well as some of their most essential bangers from 'War Pigs' to 'Iron Man' to 'Paranoid'. Originally part of a double CD set, this live album finally receives its own personal vinyl home, and offers a time capsule fly on the wall earful of the fathers of psych, doom, sludge (etc.) at the height of their drug-fueled, incomparable, sonic world domination.
Review: This essential metal album captures Black Sabbath at their most raw back in their formative years. It features their now-legendary April 1970 session for DJ John Peel and some visceral performances from Germany's Beat-Club in May of the same year. With early live renditions of era-defining tracks like 'War Pigs,' 'Iron Man' and 'Paranoid,' these tunes offer a gritty and unique glimpse into the band's rise as pioneers of heavy metal. With Tony Iommi's sludgy riffs, Ozzy Osbourne's haunting vocals and a rhythm section that redefined heaviness, it's easy to see how Black Sabbath's genre-defining legacy got its start.
Review: Finishing up recording sessions for what would become their classic fifth full-length LP Combat Rock in December of 1981, The Clash began 1982 with a six-week jaunt across Australia, New Zealand, Hong Kong, Thailand (where they would shoot the iconic cover for their forthcoming album) and Japan, marking their first time hitting most of these countries. Taking the stage at the Nakano Sunplaza in Tokyo on the 1st February, Joe Strummer and co would rip through a setlist that reads today more like a greatest hits collection including the signature opener 'London Calling' along with an array of quintessential bangers such as '(White Man) In Hammersmith Palais', 'This Is Radio Clash', 'Tommy Gun' and 'Jimmy Jazz', while the band would be joined by bassist Paul Simonon's wife Pearl Harbor (aka Pearl E. Gates) of new wave outfit Pearl Harbor & The Explosions for a rendition of the Wanda Jackson popularised 'Fujiyama Mama'. This tour and subsequent performance is also noteworthy for being one of the last to feature drummer Topper Headon, who would be removed from the band shortly after due to his heroin addiction, ultimately bringing an end to the original line-up.
Review: Punk rock heroes The Clash were midway through their transformation from guitar thrashing rabble rousers to the dub and hip-hop influenced alt pop pioneers they became when this broadcast captured them in live action in the capital of the Netherlands. So, expect a few anthems from the early days like 'London Calling', as well as more futuristic fusions of differemt genres such as 'The Magnificent Seven' and other highlights from their sprawling, ambitious and generally acomplished triumph, the Sandinista! LP
Review: In December 1980, The Clash released the sprawling 36-song Sandinista! album, which marked their transition from rabble rousing guitar slingers to the genre-splitting musical experimentalists that inhabited the second part of their career. This high quality recording catches them in mid change, still including the pogo-friendly likes of 'London Calling' - the opening tune here - but also an echo chamber-drenched version of reggae-inspired original 'Bankrobber' and their hip-hop anthem 'The Magnificent Seven'.
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